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Music was a vital part of the bulk of modern playwriting. Scholarly attention to songs in Shakespeare’s plays has in part understandably been more lavish to performance; whether in unearthing its historical features or in discussing the way songs have been adapted or recreated into the contemporary stage. Early modern dramatists may have nevertheless responded to contemporary songs also in the form of cultural traits beyond the theatrical ones of a play’s performance (see especially ORTIZ 2011). Cymbeline 4.2.259–821 epitomises the dual significance of songs for a play’s plot and dramatic effect. The editorial labelling as ‘song’ of the sestains in the stanzaic shape of lyrics in the ABABCC rhyme-scheme (but for the last stanza) misleadingly suggests they should be sung. Internal evidence indicates instead, as editors have pointed out, that Arviragus lets Belarius know that he will ‘say our song’ (4.2.254) along with Guiderius, suggesting that the lines were delivered as verse-lines or, as Roger Warren has aptly put it in the introduction to his edition of the play, in the form of ‘a spoken song’ (1998, p. 274; see also Butler 2005, ad loc.). Composers setting Cymbeline 4.2.259 – 82 since at least the eighteenth-century (for a list, see the entry ‘dirge’ in Wilson and Calore, 2014) have seemingly been not much concerned for the most part with these textual issues. In fact, grief and mourning imagery in Cymbeline 4.2.259–82 has by and large mattered most to composers, inspiring their art songs rather than

ROGER QUILTER AND THE MEANING OF CYMBELINE 4.2.259-82 IN MUSICAL FORM